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MUSIC 1AA3 Intro:History Of Music II (C01)

Academic Year: Winter 2019

Term: Winter

Day/Evening: D

Instructor: Dr. Tracy Wong


Office: Togo Salmon Hall 409

Phone: 905-525-9140 x 23671

Office Hours: By Appointment

Course Objectives:

This course aims to provide students with a broad knowledge of musical terms, concepts, and repertoire from the Classical era, Nineteenth Century, and Twentieth Century. We will focus on key composers, their works, and shifting musical styles and study how these figures and music making relate to larger economic, social, cultural, and intellectual contexts. A selection of musical examples from non-Western cultures will also be considered. By adopting a listening-oriented approach, we will develop skills in recognizing by ear musical examples and stylistic characteristics. Watch out: This course will expand your musical horizons and instill a life-long appreciation of “classical” music. No previous knowledge of music is required.

Textbooks, Materials & Fees:

1. Mark Evan Bonds, Revel for Listen to This, 4th edition. Toronto: Pearson, 2018.

2. Top Hat


More information:

Revel for Listen to This, 4th edition.

This digital learning resource includes access to readings from our etext and audio examples. You may purchase the textbook and Revel access code, or the Revel access code alone, which contains a full eText. You may purchase a Revel access code at the bookstore or online: (cut and paste this link)

Additional information on Revel for Listen to This, 4th edition:

  • Revel for Listen to This, 4e
Author: Mark Evan Bonds
Revel is an interactive, digital textbook, which is enhanced with interactive media and study tools.
  • The following purchasing options are available for this material: $75 Revel Access Code Card (ISBN: 9780134419794 )
  • Revel is required by your instructor as part of your grade. It will be used to digitally assign and track readings, quizzes, and written assignments. Your instructor will be able to follow your academic progress and ensure you’re on track. This access card gives you online access to your materials and course study tools, including your Revel interactive, digital textbook.
  • There is no print text available on campus. You are able to redeem an exclusive loose leaf print offer of your text after registering with an Access Code Card online.
  • Download the REVEL by Pearson App from the App Store or Google Play , for learning on the go! REVEL by Pearson
  • Access your interactive course materials on your tablet or mobile phone, offline and online. (Please use a recommended browser: Google Chrome, Firefox, or Safari.)

To access REVEL:

  1. Obtain a Course Invite Link from your professor. You may receive this via email from your 
instructor, on your syllabus, or through class setup materials. It looks something like this:
  2. Enter the Course Invite Link in your web browser. Please use a recommended browser: Google Chrome, Firefox, or Safari.
  3. If you have a Pearson account, enter your username and password. Otherwise, create a new account. If you create an account, you will need to confirm your email address from a message that will be sent to the email you specify. 

Note: If you are also registering for a Pearson MyLab this term, you must register for the MyLab first, in order to use the same username and password for REVEL.

  1. From your “My Courses” page, choose how you would like to access the course materials: redeem a pre-purchased access code, buy access using a credit card or PayPal account, or choose Temporary Access if you’re waiting on financial aid. 

  2. If available for your product, you can choose to purchase a loose-leaf, print version of the textbook at this time, or purchase it later from a link in your confirmation email. 

  3. That’s all! To access REVEL throughout the semester, please log in from

Need Help? Visit our 24/7 Pearson Support site: information about Revel and it’s features at: Find FAQ and Revel support at:


Top Hat

  • We will be using the Top Hat ( classroom response system in class. You will be able to submit answers to in-class questions using Apple or Android smartphones and tablets, laptops, or through text message.
  • You can visit the Top Hat Overview ( within the Top Hat Success Center which outlines how you will register for a Top Hat account, as well as providing a brief overview to get you up and running on the system.
  • An email invitation will be sent to you by email, but if don’t receive this email, you can register by simply visiting our course website:
    Note: our Course Join Code is 997362
  • Top Hat may require a paid subscription, and a full breakdown of all subscription options available can be found here:
  • Should you require assistance with Top Hat at any time, due to the fact that they require specific user information to troubleshoot these issues, please contact their Support Team directly by way of email (, the in app support button, or by calling 1-888-663-5491.

Method of Assessment:

Test #1 on The Classical Era (Jan 23, 2018) (20%)

Test #2 on The Nineteenth Century (Feb 27, 2018) (20%)

Weekly quizzes using Top Hat (20%)

Concert review (due April 6, 2019) (10%)

Cumulative final exam (date TBA) (30%)

Note: Students in this course will have received more than 20% of their grade in this course by March 15, 2019.

Policy on Missed Work, Extensions, and Late Penalties:

Use the Assignments feature on A2L to submit your concert review on or before Saturday, April 6 at 11:59am. You are encouraged to submit your review earlier. Late reviews will be penalized 10% per day. Reviews submitted after Tuesday, April 9 will NOT be accepted.

Please Note the Following Policies and Statements:

Academic Dishonesty

You are expected to exhibit honesty and use ethical behaviour in all aspects of the learning process. Academic credentials you earn are rooted in principles of honesty and academic integrity.

Academic dishonesty is to knowingly act or fail to act in a way that results or could result in unearned academic credit or advantage. This behaviour can result in serious consequences, e.g. the grade of zero on an assignment, loss of credit with a notation on the transcript (notation reads: "Grade of F assigned for academic dishonesty"), and/or suspension or expulsion from the university.

It is your responsibility to understand what constitutes academic dishonesty. For information on the various types of academic dishonesty please refer to the Academic Integrity Policy, located at

The following illustrates only three forms of academic dishonesty:

  1. Plagiarism, e.g. the submission of work that is not one’s own or for which other credit has been obtained.
  2. Improper collaboration in group work.
  3. Copying or using unauthorized aids in tests and examinations.

Email correspondence policy

It is the policy of the Faculty of Humanities that all email communication sent from students to instructors (including TAs), and from students to staff, must originate from each student’s own McMaster University email account. This policy protects confidentiality and confirms the identity of the student.  Instructors will delete emails that do not originate from a McMaster email account.

Modification of course outlines

The University reserves the right to change dates and/or deadlines etc. for any or all courses in the case of an emergency situation or labour disruption or civil unrest/disobedience, etc. If a modification becomes necessary, reasonable notice and communication with the students will be given with an explanation and the opportunity to comment on changes. Any significant changes should be made in consultation with the Department Chair.

McMaster Student Absence Form (MSAF)

In the event of an absence for medical or other reasons, students should review and follow the Academic Regulation in the Undergraduate Calendar Requests for Relief for Missed Academic Term Work. Please note these regulations have changed beginning Fall 2015. You can find information at If you have any questions about the MSAF, please contact your Associate Dean's office.

Academic Accommodation of Students with Disabilities

Students who require academic accommodation must contact Student Accessibility Services (SAS) to make arrangements with a Program Coordinator. Academic accommodations must be arranged for each term of study. Student Accessibility Services can be contacted by phone 905-525-9140 ext. 28652 or e-mail For further information, consult McMaster University's Policy for Academic Accommodation of Students with Disabilities.

Academic Accommodation for Religious, Indigenous and Spiritual Observances

Students requiring academic accommodation based on religion and spiritual observances should follow the procedures set out in the Course Calendar or by their respective Faculty. In most cases, the student should contact his or her professor or academic advisor as soon as possible to arrange accommodations for classes, assignments, tests and examinations that might be affected by a religious holiday or spiritual observance.

Topics and Readings:

Week & Dates

Topics & Chapters for Lecture


Week 1


Jan. 8



Jan. 9




Jan. 11





The Elements of Music: A Brief Introduction


Part 4: The Classical Era, 1750-1800

22 – Joseph Haydn, String Quartet in C Major, Op. 76, No. 3, Second Movement


23 – Master Musicians of the Ikuta-ryu, Cherry Blossom

24 – Joseph Haydn, Symphony No. 102 in Bb Major, third and fourth movements


Week 2


Jan. 15



Jan. 16



Jan 18



25 – Wolfgang Amadeus Mozart, Symphony No. 40 in G minor, K. 550, first movement


26 - Wolfgang Amadeus Mozart, Piano Concerto in A major, K. 488, first movement


27 - Wolfgang Amadeus Mozart, The Marriage of Figaro, Act 1, “Cosa sento”


Week 3


Jan. 22


Jan. 23


Jan. 25



29 – William Billings, “Chester” & Review: The Classical Era


TEST #1: The Classical Era


Part 5: The Nineteenth Century, 1800-1900

30 – Ludwig van Beethoven, Symphony NO. 5 in C minor, Op. 67


Week 4


Jan. 29



Jan. 30



Feb. 1



31 – Franz Schubert, “Erlkönig,” D. 328

32 – Felix Mendelssohn, Overture to A Midsummer Night’s Dream


33 – Hector Berlioz, Symphonie fantastique, fourth movement (“March to the Scaffold”)


34 – Fanny Mendelssohn Hensel, Piano Trio in D minor, Op. 11, third movement (“Song”)


Week 5


Feb. 5



Feb. 6


Feb. 8



35 – Robert Schumann, “Dedication”

36 – Clara Wieck Schumann, “Forward!”


37 – Frédéric Chopin, Marzuka in Bb major, Op. 7, No. 1


40 – Giuseppe Verdi, La Traviata, Act 1, selection (“Follie!”)


Week 6


Feb. 12



Feb. 14




Feb. 15



41 – Richard Wagner, The Valkyrie, Act III, selection (“Wotan’s Farewell”)

42 – Peter Ilyich Tchaikovsky, Swan Lake, Act IV, finale


43 – Johannes Brahms, Symphony No. 4 in E minor, Op. 98, finale

44 – Antonin Dvorák, String Quartet in F major, Op. 96 (“American”), third movement


Review: Part 5: The Nineteenth Century, 1800-1900


Feb. 19-22

Mid-Term Break

Week 7


Feb. 26


Feb. 27*


Mar. 1*



Field Trip: Zoltan Kalman – Clarinet & Piano, LWH


TEST #2: The Nineteenth Century, 1800-1900


Class Canceled (Conference)


Week 8


Mar. 5



Mar. 6



Mar. 8



Part 6: Since 1900, 1901-2000

45 – Claude Debussy, Voiles


46 – Charles Ives, The Unanswered Question

47 – Arnold Schoenberg, “Columbine” from Pierrot lunaire


Guest Speaker: Abigail Richardson-Schulte, Hamilton Philharmonic Orchestra Composer-In-Residence

Week 9


Mar. 12


Mar. 13



Mar. 15



48 - Igor Stravinsky, The Rite of Spring, Part One


49 – Scott Joplin, Maple Leaf Rag

51 – Duke Ellington, “Cotton Tail”


52 – Charlie Parker, “Ornithology”


Week 10


Mar. 19


Mar. 20



Mar. 22



56 – Aaron Copland, “Hoe-Down” from Rodeo


57 – Béla Bartók, Concerto for Orchestra, second movement (“Game of Pairs”)


61 – Philip Glass, “Knee Play 1” from Einstein on the Beach


Week 11


Mar. 26


Mar. 27



Mar. 29



64 – Corey Dargel, “On This Date Every Year”


65 – Austin Wintory, “Nascence,” from Journey

66 – Chuck Berry, “School Day”


67 – The Sex Pistols, “God Save the Queen”


Week 12


Apr. 2


Apr. 3


Apr. 5



68 – Public Enemy, “Fight the Power”


69 – John Williams, “The Walls Converge,” from Star Wars




Week 13

Apr. 9




Apr. 11-29

Final Exam, date TBD

Other Course Information:

Field Trip

During our regular class times on Tuesday, February 26, 12:30-1:20pm, we will attend a live performance as part of SOTA’s Tuesday Lunchtime Concert Series at the Concert Hall in L.R. Wilson. This will be a great opportunity for us to move from “page to stage” and apply what we learn in the classroom to other genres of music. Admission is free.

Concert Review

During the course, you will submit a review of one live performance, either one of the SOTA performances or another concert of your choosing. In addition to the name of the concert, performer(s), date, genre of music, and location, your review should include your opinion and observations of:

  • Musical material presented. How would you describe it, related to the concepts that you have learned in class? Into which category does it fall, and what influences do you observe related to other music genres? Did you notice any similarities to composers studied in the course?
  • Overall performance. What did you observe about how the show was set? Why do you think the performer created the atmosphere that they did? How did the performer engage the audience?
  • Level of audience engagement. How did the audience respond to the show?
  • Personal response to the show. What are your own reflections and opinions of the show?
  • Also include a website address that mentions the live performance

Live concert performances can include music concerts (singing or instrumental), musical theatre, or opera. Classical music concerts are encouraged, but you are welcome to hear any type of live music. Other ideas include a jazz night at a local coffee house, performers at pubs, street musicians at festivals, etc. These websites may help you find a concert that fits your schedule, budget, interests, etc.:

You must attend a live concert during the semester. You are not allowed to provide a retrospective review. If you have any questions about finding a live event, please contact your instructor.

Formatting: The concert review should be approximately 2 pages (500 words) in length. Use Times New Roman, 12-point font, double space, with no more than 1.25” margins. Do not use justified margins. There is no need for a title page on the top of the first page of your assignment, include a title of your review, your name and student number, and the date of submission. If you use any resources, please use proper citation format. Please submit your review on ATL as a Word document or PDF.

Need help writing? Written work will be marked on grammar, clarity of writing, and organization, as well as content. Tips: (1) Plan ahead so that you have time to develop your ideas and revise your work; (2) organize your writing into separate paragraphs so that your ideas are clear and convincing (your assignment should include at least three paragraphs); (3) and, as you proofread, read your writing aloud. Awkward sentence structures and other errors are often easier to catch when you hear them rather than read them on a screen.Students are encouraged to seek help from Writing Support Services through the Student Success Centre. For information about the Writing Assistance Clinic and other services, visit the Centre online:

Samples of concert reviews are posted on A2L.